Brad Hurley
Forum Replies Created
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Are these all .wav files and do they have the same sample rate (typically 48 khz)? If not, that could conceivably be the source of the problem.
In the DAW world, pops and dropouts are typically fixed by adjusting the buffer size. There might be a way to change buffer settings in FCPX but I’m not sure how to do it.
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I haven’t had time to watch any of these videos, but has anyone answered the question of what this means for BootCamp? Will people still be able to run Windows natively on a Mac, or even via emulation (e.g., Parallels or VMWare Fusion)?
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The “Producer’s Best Friend” app might be able to do this, but it’s $100.
A free workaround that might work (I haven’t tested it) is to export your project XML from FCPX, import it in the free version of DaVinci Resolve, and then export an EDL/marker list as a text or .csv file from Resolve. -
Ripple Training also has several excellent audio-post tutorials for Logic, by Mary Plummer, who now works for Blackmagic Design and wrote the manual for Fairlight in DaVinci Resolve. Speaking of Fairlight, Ripple Training also has a very good basic introductory tutorial for Fairlight that cleared up a lot of mysteries for me and opened my eyes to some of Fairlight’s capabilities. And Steve Martin’s tutorial on audio in Final Cut Pro was a big eye-opener as well, giving me an appreciation for the surprising level of sophistication in Final Cut’s own audio editing and mixdown capabilities.
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I also use RX 7 Advanced, it’s awesome. A cheaper but nearly as good alternative is Acon Digital’s Acoustica editor, which has many similar tools to those in Izotope RX, including spectral repair, denoising, remixing, etc. I prefer Acoustica’s interface and end up using it for most things, and then if I’m not satisfied with the result I’ll try RX. I recorded an interview last summer in a room with very audible air conditioning through the HVAC system and RX made it completely disappear without affecting the voices at all. It’s kind of magical.
There are lots of denoise plugins available.
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There’s rudimentary background noise reduction in FCPX:
https://support.apple.com/en-ca/guide/final-cut-pro/verc1fab873/mac
If that doesn’t do the trick there are third-party plugins.
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Also see this thread on the DaVinci Resolve forum; it might be relevant if this is something that only just started happening to you:
https://forum.blackmagicdesign.com/viewtopic.php?f=21&t=114047
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In Resolve, try changing output gamma to 2.4 and see if that fixes it. If not try gamma 2.2
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I have never experienced a crash in FCPX; maybe I’m just lucky but based on reports I’ve seen it’s very stable. Dunno about phone support; I hardly ever use phone support for any software and have called Apple exactly once since 1987.
Best advice for starting out with FCPX is to buy Ripple Training’s Final Cut Pro Core Training tutorial. The biggest learning curves coming from another NLE are the metadata-based workflow, layers instead of tracks, and the magnetic timeline. Once you understand the paradigm and how it works, it’s incredibly efficient and liberating; in editing I find it helps me be more creative, test more ideas, and focus more on the story.
The color grading tools have gotten much better in the past couple of years, and audio editing and sweetening are pretty sophisticated although the lack of a mixer can be frustrating.
If you want to stick to a traditional track-based workflow, DaVinci Resolve would be a good choice; it’s not very stable on Windows compared with Mac, but it has rarely crashed on my Mac. You do need a high-spec machine, especially GPU; you can have terabytes of RAM and the fastest processor in the world, but unless your GPU is up to spec you can’t run Resolve. It’s a great NLE and has world-class color grading tools although it’s being very actively developed and the slower pace of FCPX development is actually an advantage in terms of stability and productivity.
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One test you could try: in Resolve, set the timeline color space (in project settings) to Rec 709 gamma 2.2 and see if the result in the viewers is closer to what you’re seeing in Final Cut.